DOI:10.6531/JFS.2015.20(2).A81 ARTICLE .81 Forcing the Design of Fictional Futures: From Theory to Cases Implementation Patrick Corsi IKBM Sprl Belgium Abstract In the face of fast growing concerns for sustainability in all wakes of human endeavor around the planet, this paper aims to support a generative process for exploring futures conceptions and seeks to contribute to professional futurists’ design abilities. It is a contribution to connect practical social and business innovation with actionable futures thinking. The approach is founded on design innovation methodology backed by C-K theory, a constructive prototyping strategy, which can account for any moment when a “futures potential” happens. To illustrate the process, a series of matching field experiments are portrayed, whereby kick-off propositions led to blueprint concepts and, through their systematic expansion, were carried into project briefs that could be implemented with planners, policy makers, and project managers. The illustrated content provides decision- makers an operational and sharable framework. Keywords: futures design, science fiction, C-K theory, design innovation I – Nature and Scope of the Paper in the Context of Futures and Design Today, responsible thinking about the future should be performed in a way useful to all stakeholders. This means open, original, robust, and valuable thinking. Futures Studies (FS) is typically driven by a forward-looking approach. It is a quality that may be rooted in an understanding of trends or emerging situations (e.g. weak signals) or that is based on present or past issues and context. By contrast, a ceaseless hallmark of Science Fiction (SF) has been to project compelling hereafters back to present awareness. Arguably, they could be considered as two cousin fields working along Arthur Eddington’s time arrow (Eddington 1928) in causal ways, even if the causal relation cannot be commonly perceived. Does some correlation exist between those two modalities of futures awareness? They operate within an asymmetry of time through two disjoined projections: Journal of Futures Studies, December 2015, 20(2): 81–104 Journal of Futures Studies • Futures Studies generally projects human perceptions forward into time. It is an anticipatory artful process of projecting futures, pushing from the past and/or present, i.e. the context, the environment, whereby futures are worked out from some established starting point. Futures Studies starting points may be explicated through scenarios, images (e.g. of the future, Van Leemput, 2015) or any explicit depiction of a singled out aspect or ‘part-of- future’ depiction. • Science Fiction pulls speculative human perception backwards. It is a ‘foreign futures’ catalyst, always remaining within its own referential narrative system, encompassing a universe of utopian or antonymic dystopian fictions, or mere illusions (the fantasy genre of SF). Science Fiction evolves intrinsically as an off-scale self-sufficient art, without having to a priori justify its depictions with respect to the known world (non- transferability). It is essentially regenerating concepts about future worlds, and it isn’t necessarily aligned with the present context (thus anticipated); and therefore a singular defining property of science fiction is that the projected stories should remain beyond immediate reach (i.e. outside of commonly shared experiential knowledge bases). Actually, a timeline for accessing its depicted futures facts isn’t needed. Authors such as Ramos insist on maintaining the dynamism in the tension between present and future for exploring solutions to emerging futures challenges (Ramos, 2013). The main drive of this paper is to chart an operational FS←→SF junction path through a unified framework that builds such a tension, and that also departs from the waterfall metaphor of problem-solving (criticized by Conklin (2006)). An operational universe of futures that encompasses FS and SF, however, requires a rigorous, yet somewhat unusual epistemology in respect to notions of ‘concept’ and ‘knowledge’: - A knowledge corpus is made of propositions that are either known in some form (e.g. from theories, domains of expertise, experience and know-how, also emotions and feelings), or are declared as somehow feasible (e.g. prototypes), or are instead known to be impossible. Its elements always have a logical status (e.g. a 4-wheel drive car). - A concept is a proposition that is undecidable (i.e. can’t by answered by a ‘yes’ or ‘no’, it’s impossible to decide if the proposition could be somehow actualized or not). The term belongs to general philosophy yet always designates a specific meaning. It is close to the meaning used by engineers, designers and architects when they specify an innovative proposition (e.g. an electric car). A concept has no logical status (a flying car). A concept evokes an “unknown” proposition relative to available knowledge (Hatchuel, 2002). This differs, for example, from Bruno Latour’s (2005) constructivist and relational epistemology of a concept, whereby a ‘concept’ is ontologically active and generative in a network that includes machines and humans. Futures Studies classically bases scenarios on knowable propositions of varying certainty or grade, thus revealing a degree of uncertainty. But scenarios may someday appear as rudimentary, as Roman numerals began to look when decimal 82 numbering was introduced. A futurist centers on and subordinates his/her work to Forcing the Design of Fictional Futures realizing and validating predefined functions (e.g. categorizing, resolving known problems or specifications). As an architect of futures, a futurist has rapport to knowledge, even if unordinary; is bound to compare with the past; whereby the distance between success and failure is often the applicability of the findings. In contrast, the design of radically novel situations (thus including Science Fiction stories and taking ‘design’ in the broad sense of intentional conception) provides an opportunity to start from undecidable propositions. A SF author is an artist who relinquishes the fortune of his/her creation to other’s judgment. When used together, FS and SF can bring us a new calculus of thinking futures. Hence this paper positions futurists as designers, much as in Haldenby’s vein, i.e. engaging “creative collaboration through narrative to bring a much needed dose of creativity and interactivity to our ways of thinking about the future” (Haldenby, 2013). Situating this work further in the context of the design thinking space, a long neglected approach, directly connects with Stuart Candy’s seminal thesis (Candy, 2010) in several respects: the use of cultural stories about possible futures, imagining surprises, developing a range of possibilities, pluralizing and defamiliarising futures. Futurist as designer also connects with Ramos’ Futures Action Model, which combines futures and enterprise design approaches, with clear overlaps with enterprise generation (for governance, resources, people and teams). Distinguishing Concepts from Knowledge led the author to use the C-K Theory of Ecole des Mines ParisTech, an abstracted design reasoning process and a powerful approach for discussing design phenomena. Design is here intended as creative engineering, including e.g. new functional spaces, requirements, competencies, business models, etc. It’s an experiential activity that spans the spectrum of human endeavors, from architecture to science, industrial design, and usage (Hatchuel, 2010) and that capitalizes on the radical and definitive distinction between what’s uncertain (resorting to probabilities) and what’s undecidable (resorting to a-factual logic). An experimental parallel with Haldenby’s using “technology in futures to bring a distant past into present” (Haldenby, 2013) is sensed, as he too strives to think about the unthinkable, by creatively imagining scenarios and “bringing them to life, allowing people to step inside rather than just a linear story” (id.). Haldenby scenarizes worlds (“worlding”) that “make us think through experience […] to feel out the futures.” The proposition is put forward that, to design radically new futures conceptions is also to design at least one future that does not exist in the knowledge base encompassing present and past, i.e. known (probable or not) facts. Shouldn’t a universal theory of designing futures also account for unexpected futures? This creation of novelty is obtained by the logic of “expansion capacity”. An unlimited number of futures can potentially be generated by logical design via the C-K Theory1 framework, while futures studies typically work out fewer through its knowledge oriented projections. Hence, the epistemology of science fiction here retains a clearer commitment to the Knowledge space, even if unbounded, a-historical or infinite, as a way to conceive futures outside of time in a disruptive philosophical way. The above considerations transcend problem-solving methods, sociologic or cognitive approaches to tackling futures, while present day dominant methods (scenarios, Delphi…) scenarize or regulate the selection of futures by optimizing the given – read known - rules and without altering them. Instead, a generative way 83 Journal of Futures Studies for futures genesis in non-denumerable ways is discussed and illustrated, which provides a bridge between FS and SF. II – Equipping the Design of Fictional Futures with C-K Theory II.1 How does C-K theory basically work The fundamental futures design proposition